CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI
Fokus Jurnal Cita Kara adalah menerbitkan artikel dari mahasiswa dan dosen yang didedikasikan untuk semua aspek paradigma penciptaan maupun pengkajian termasuk penggalian pengetahuan dan keterampilan seni murni. Artikel berupa hasil penciptaan, penelitian, gagasan konseptual, kajian, teori, dll yang mengutamakan materi, konsep, metodologi, dan pendekatan yang digali dari akar budaya sesuai dengan visi dan misi Program Studi Seni Murni Fakultas Seni Rupa dan Desain Institut Seni Indonesia Denpasar. Ruang lingkup jurnal terdiri dari berbagai topik seni murni, baik yang menyakut hasil pemikiran/ulasan, hasil penelitian (paper atau full paper, shot communication, rapid/preliminari), review dan obituari.
Conceptual and Aesthetic Transformation in “Baris Dance” Painting by Anak Agung Gede Sobrat after the influence of Rudolf Bonnet and Wallter Spies
This research aims to analyze the transformation of concepts and aesthetic forms in the “Baris Dance” painting by Anak Agung Gede Sobrat following the influence of Western artists, namely Wallter Spies and Rudolf Bonnet. Anak Agung Gede Sobrat known by Sobrat is recognized as one of the pioneers of modern Balinese painting, particularly within the Ubud style, which experienced significant development through interaction with Western culture during the colonial period. This research employs a qualitative method with a descriptive-analytical approach. The aesthetic analysis is conducted using the theory of Monroe Beardsley, which emphasizes three main aspects: unity, complexity, and intensity. Meanwhile, the theory of cultural change proposed by Poerwanto is used to examine the processes of cultural transformation resulting from external influences, particularly diffusion and acculturation between Western and Balinese artistic traditions. The results indicate that the “Baris Dance” painting by Anak Agung Gede Sobrat demonstrates strong aesthetic qualities through harmonious compositional unity, intricate visual complexity, and expressive intensity. Furthermore, significant transformations are identified in terms of theme, technique, and media usage. The thematic focus, which initially centered on epic narratives such as wayang stories, evolved into representations of Balinese social and cultural life. The application of coloring techniques and materials also reflects Western influence, while still preserving traditional Balinese values. In conclusion, the “Baris Dance” painting represents a synthesis of local tradition and Western influence, resulting in a new aesthetic form within the development of modern Balinese painting, particularly in the Ubud style.
Hak Cipta (c) 2026 A.A. Gede Bayu Paramarta Krisna Prabu https://creativecommons.org/licenses/by/4.0
FERDINAND DE SAUSSURE'S SEMIOTIC ANALYSIS ON DJOKO PEKIK'S “GO TO HELL CROCODILLE” PAINTING
This research aims to identify and analyze the symbolic meaning in the painting "Go to Hell Crocodile" by Djoko Pekik through the semiotic approach of Ferdinand de Saussure. This painting is one of the important works in contemporary Indonesian art that raises the theme of social criticism through symbolic visual language. Although this work has been extensively studied from a formal aesthetic perspective, studies that specifically use Saussure's semiotic approach to interpret the relationship between signifiers and signifiers in paintings are limited. Therefore, this study views painting as a visual sign system that has a structure of meaning formed through the relationship between visual elements in the composition of the work. This study uses a descriptive qualitative approach with a semiotic analysis method. Data were obtained through visual observation of elements in paintings, documentation studies, and relevant literature studies. Data analysis is carried out by identifying visual elements as markers, determining the concept of meaning as a marker, and interpreting the relationship between the two in a social and cultural context. The results showed that visual elements such as crocodile figures, soil spiral patterns, crowds of people, pointed bamboo, Honai traditional houses, and mountainous landscapes formed a system of signs that represented social conflict and power inequality. At the interpretation stage, the visual meaning in the painting is associated with the context of the conflict in natural resource management in Papua. This research confirms that artworks can function as a visual communication medium that conveys social criticism through visual symbols.
Hak Cipta (c) 2026 Edy Semara Putra https://creativecommons.org/licenses/by/4.0
PAPER CLAY DARI LIMBAH KERTAS BEKAS SEBAGAI UPAYA MENGATASI KETERBATASAN BAHAN PRATIKUM TANAH PATUNG
Isu pencemaran lingkungan karena permasalahan sampah atau limbah rumah tangga, sampah perkantoran, limbah industri pertanian, industri peternakan yang selama ini menjadi isu global harus ditemukan solusi pemecahannya. Salah satu jenis limbah yang cukup banyak ditemukan di beberapa unit lingkungan Fakultas Seni Rupa dan Desain ISI Bali adalah limbah kertas bekas. Bahan pratikum pada mata kuliah seni patung realis di Laboratorium Seni Murni Fakultas Seni Rupa dan Desain awalnya menggunakan tanah lempung Jogja dan plastisin sebagai bahan pembentuknya, sejalan waktu bahan tersebut sulit untuk didapat karena harus mencari ekspedisi jasa angkut dari Jogja yang membutuhkan biaya yang cukup besar untuk bisa sampai di Denpasar. Untuk itu, telah dilakukan pembuatan dan pengujian bahan pengganti yang memiliki karakter hampir sama atau mungkin memiliki kelebihan dari bahan sebelumnya yakni dalam bentuk paper clay. Tujuan penelitian ini adalah menyelesaikan permasalahan kelangkaan bahan praktikum tanah lempung serta mampu mengatasi permasalahan lingkungan khususnya limbah kertas bekas di laboratorium dan beberapa unit di lingkungan Fakultas Seni Rupa dan Desain ISI Bali. Proses penciptaan meliputi tahap eksplorasi, tahap improvisasi, dan tahap komposisi (forming). Adapun hasil penelitian yang didapatkan yaitu clay dari kertas bekas sebagai bahan pratikum sangat mudah didapat serta diproduksi dan sangat lebih ekonomis jika dibandingkan dengan tanah patung. Karakteristik paper clay lebih baik dari tanah patung, seperti memiliki tingkat kekuatan yang lebih tinggi, penyusutan yang lebih kecil, lebih mudah dibentuk dan ditempel, serta waktu pengeringan yang lebih cepat.
Hak Cipta (c) 2025 Gede Putra Jaya https://creativecommons.org/licenses/by/4.0
TOPENG ROH ASMAT SEBAGAI IDE PENCIPTAAN KARYA SENI LUKIS
Tujuan perancangan karya seni ini adalah menjadi saran kelangsungan menjaga tradisi dan budaya luhur suku Asmat, menjadi sarana pengetahuan ilmu budaya antar generasi, serta menjadi sarana penghormatan spiritual bagi para roh leluhur. Metode pengumpulan data antara lain observasi dan dokumentasi. Observasi mengamati kegiatan upacara atau ritual pesta topeng roh menggunakan metode wawancara dengan narasumber dengan objek penelitian Topeng Rohdan subjek penelitian narasumber. Dokumentasi dilakukan dengan mengumpulkan data dari beberapa kajian seperti buku, artikel ilmiah, artikel popular, majalah, foto-foto, dan video. Adapun penelitian mengenai topeng roh Asmat dilakukan oleh penulis berdasarkan tahapan berikut: pertama, upaya menemukan ide atau gagasan; kedua, pengumpulan data; ketiga, analisis data dilakukan dengan merangcang atau mmembuat representasi dari cerita rakyat topeng roh dan dokumentasi berupa video dan foto; keempat, visualisasi data ke dalam bentuk karya lukis; kelima, penyajian data dalam bentuk pameran karya seni, serta dipertanggungjawabkan secara ilmiah melalui karya tulis. Adapun alat dan bahan yang dibutuhkan untuk pembuatan lukisan antara lain cat lukis, pensil, kuas lukis, manik-manik pasir, sapu lidi. Kanvas dan kulit kayu sebagai media sedangkan untuk karya instalasi yaitu sapu lidi dan lem tembak. Pembuatan lukisan dan karya seni instalasi topeng roh dimulai dari sketsa menggunakan pensil dilanjutkan dengan cat lukis.
Hak Cipta (c) 2025 Bayu Aji Suseno https://creativecommons.org/licenses/by/4.0
Strategy for Developing Traditional Concrete Sculptures in Yan Dede's Studio
This internship report is based on practical work activities carried out at Studio Yan Dede, located in Ketewel, Gianyar, Bali. The studio is known as one of the traditional Balinese concrete sculpture studios that possesses a strong and distinctive artistic identity in each of its works. The purpose of this internship is to gain firsthand understanding of the creation process of traditional concrete sculptures, starting from the planning stage, material selection, framework construction, to the finishing stage. In addition, this activity also aims to study the management system, technology, and skills applied in the sculpture art industry. During the internship, the writer was involved in real projects and had the opportunity to apply academic knowledge in practical fieldwork. Studio Yan Dede uses various materials such as cement, sand, iron, binding wire, and other specialized tools to support the sculpture production process. This internship also analyzed the process of knowledge transfer, skill transfer, and the technology used in the studio to produce high-quality and aesthetically valuable concrete sculptures. This internship provided insight and practical experience in the professional world of fine arts, particularly in concrete sculpture. It is hoped that this activity will serve as an effective learning medium and strengthen the connection between academic institutions and the creative industry.
Hak Cipta (c) 2026 Putu Heri Setia pradnyana, I Wayan Mudana, I Made Bendi Yudha https://creativecommons.org/licenses/by/4.0
Mengeksplorasi Relief dan Rerajahan dalam Penciptaan Seni Rupa
Program Merdeka Belajar Kampus Merdeka (MBKM) merupakan kebijakan dari Kementerian Pendidikan dan Kebudayaan yang bertujuan mendorong mahasiswa untuk menguasai berbagai bidang pengetahuan sebagai persiapan memasuki dunia kerja profesional. Di ISI Denpasar, program MBKM tahun ini dilaksanakan melalui kerja sama dengan mitra industri di bidang seni, desain, industri kreatif, dan budaya. Penelitian ini berangkat dari gagasan menciptakan karya seni visual yang terinspirasi dari relief dan rerajahan. Relief, sebagai ukiran dua dan tiga dimensi yang terdapat pada pura-pura di Bali, memiliki nilai historis, religius, dan artistik yang kuat, meskipun sebagian telah berkurang akibat renovasi yang mengabaikan ornamen aslinya. Sementara itu, rerajahan merepresentasikan simbol-simbol magis dan spiritual dalam tradisi Hindu Bali, yang diperkaya dengan aksara suci modre yang diyakini memiliki energi ilahi. Proses kreatif dilakukan melalui studi literatur, observasi terhadap relief di pura, serta eksplorasi visual aksara modre dalam rerajahan. Hasil karya yang dihasilkan berupa karya dua dimensi (lukisan) dan ornamen tiga dimensi yang memadukan bentuk relief dengan kekuatan simbolis rerajahan, menggunakan pendekatan ekspresionis dan impresionis untuk menafsirkan kembali bentuk-bentuk tradisional. Implikasi dari karya ini menunjukkan bahwa penggabungan relief dan rerajahan dapat menciptakan ekspresi seni kontemporer yang berakar pada tradisi, sekaligus berkontribusi pada pelestarian nilai budaya, sejarah, spiritual, dan estetika Bali.
Hak Cipta (c) 2026 I Gusti Ngurah Agung Putra Wahyu Sedana, I Nengah Wirakesuma, I Wayan Mudana https://creativecommons.org/licenses/by/4.0
Expressing the Essence of Classical Gambuh Dance Drama through Batuan Traditional Painting
This independent study project explores how the essence of Gambuh, Bali’s oldest and most sacred dance-drama, can be interpreted through the lens of traditional Batuan painting. Motivated by a desire to preserve and reinterpret cultural heritage, this project focuses on visualizing six main characters, Putri Rangkesari, Panji, Condong, Prabhu Lasem, Kade-Kadean, and Arya, each rendered with deep attention to gesture, costume, and symbolic presence. The research employs a method rooted in artistic creation, combining aesthetic approaches such as heuristic, hermeneutic, and symbolic exploration with field observations and traditional mentorship. The creative process followed three key stages: exploration through direct observation of Gambuh performances and Batuan traditional painting studios; improvisation through sketching and experimenting with visual composition; and forming, where the final works were developed using Chinese ink and watercolor on watercolor paper and canvas in the Batuan style. The artworks produced do not merely document the characters but reinterpret them as reflections of emotional and philosophical dimensions relevant to today’s social reality. This project concludes that Batuan painting offers a powerful visual medium to convey the layered narratives of Gambuh, enabling the audience to engage with classical themes of love, power, longing, and moral conflict through a contemplative visual experience.
Hak Cipta (c) 2026 Ashlesha Barde, Ni Made Purnami Utami, I Made Bendi Yudha https://creativecommons.org/licenses/by/4.0
EVOLUTION TOWARDS FREEDOM: SUN GOKONG AS A SYMBOL OF HUMAN BEHAVIORAL TRANSFORMATION AS INSPIRATION FOR SCULPTURE CREATION AT THE LABDA SCULPTURE STUDIO
This research aims to create a sculpture that represents the philosophical meaning of freedom through a gradual process from human behavior to self-awareness by making the character of Sun Gokong as the main symbol. The method used is practice-based research by combining additive and subtractive techniques in the sculpting process. The creation process involves the use of aluminum wire, resin, talc, gypsum, clay, and coloring with antique nuances to strengthen the symbolic depth of the work. The resulting works are six sculptures that represent the stages of human development, starting from primitive forms to culminating in the figure of Sun Gokong as a symbol of spiritual and behavioral transformation towards freedom. Each stage of the work visualizes the development of human consciousness, from instinctive existence to rational, disciplined, and spiritually mature conditions. The implication of this research confirms that sculpture does not only function as an aesthetic object, but also as a medium for critical reflection on human values, inner liberation, and the meaning of true freedom in contemporary life.
Hak Cipta (c) 2026 Nyoman Ferry Frasnanda, I Made Bendi Yudha, I Ketut Mustika https://creativecommons.org/licenses/by/4.0
VISUAL SYSTEM OF WAYANG KAMASAN PAINTING ART
Iconography plays a crucial role in the visual interpretation of Wayang Kamasan, wherein various symbols and icons are embedded within a complex system that warrants in-depth analysis. This study, therefore, centers on the archiving and examination of iconography within the Wayang Kamasan painting tradition. The author conducts a stylistic documentation of several painters who are heirs to this tradition
Hak Cipta (c) 2026 Made Chandra Putra Adnya, Luh Budiaprilliana, Anak Agung Gde Trisna Suryadinata T.Y. https://creativecommons.org/licenses/by/4.0
Penerapan Teknik Glasir dan Lukis untuk Pewarnaan Keramik Tableware
Laporan magang/praktek kerja ini berfokus pada tema keindahan tumbuhan yang harus dijaga. Pada karya ini, mahasiswa terinspirasi dari keindahan bentuk estetik tumbuhan yang dapat dituangkan pada karya keramik. Dari ide tersebut tercipta tekstur, warna, dan bentuk pada karya tersebut. Karya yang diciptakan adalah karya tableware yang terdiri dari tiga gelas dan tiga mangkuk. Karya dibuat menggunakan teknik putar pada mesin, kemudian menggunakan teknik manual untuk memasang pegangan gelas pada beberapa karya. Selanjutnya, teknik ukir untuk membuat tekstur pada karya. Untuk membuat karya memiliki warna yang menarik, mahasiswa memutuskan untuk menggabungkan dua macam teknik pewarnaan yaitu teknik lukis dan teknik glasir. Pertama, mahasiswa melukis menggunakan cat underglaze, kemudian melanjutkan proses pewarnaan dengan menggunakan cairan glasir. Mahasiswa mengkombinasikan beberapa warna glasir yang berbeda pada setiap karya dengan tujuan untuk menampilkan efek-efek warna yang menarik. Laporan ini bertujuan untuk memberikan pengetahuan mengenai bagaimana cara berkreasi dengan keramik dari tahap awal hingga tahap akhir. Selain itu, laporan juga memberikan informasi mengenai berbagai teknik yang digunakan dalam proses pembentukan karya. Pada akhirnya disimpulkan bahwa penulis bahwa banyak pembelajaran yang dapat diperoleh selama melakukan kegiatan magang/praktek kerja. Penulis berharap bahwa laporan untuk dapat menjadi inspiratif bagi pembaca.
Hak Cipta (c) 2026 Angeline Immanuel Sanusi, Tjokorda Udiana Nindhia Pemayun, Ni Made Purnami Utami https://creativecommons.org/licenses/by/4.0
Women In The World Of Modeling As An Inspiration For Creating Fine Art Paintings
This study explores how the female body is represented in the visual world of fashion as a source of inspiration in the creation of paintings that highlight female figures by emphasizing aesthetic and symbolic aspects. The representation of the female body in the modeling world is not merely a physical expression, but also carries cultural constructions, ideologies, and complex social narratives related to women’s identity, roles, and existence in society. Within this approach, the body is understood as a space of expression that embodies grace, strength, gentleness, as well as vulnerability, which can be transformed into a visual language in art. The research applies a practice-based creative exploration method, involving stages of visual observation, technical experimentation, and critical reflection on issues of bodily representation in visual art. The Sigar Mangsi technique, a distinctive Balinese painting tradition, is combined with the use of Chinese ink and acrylic paint to create expressive visual compositions. This combination of media symbolizes the duality of strength and fragility in the female body, visualized through metaphors such as insect fibers, wings, and butterfly forms as symbols of transformation and freedom. The resulting works depict female figures in artistic costumes rendered on canvas, presenting both glamorous and reflective nuances, while contributing to the development of contemporary painting rooted in local wisdom. This study not only produces aesthetically engaging visual forms, but also opens critical discourse on the body, beauty, identity, and symbolism in visual art, thereby enriching perspectives on the relationship between art, fashion, and culture, Painting.
Hak Cipta (c) 2026 Ni Nyoman Triani Sartika, I Wayan Gulendra, I Made Jodog https://creativecommons.org/licenses/by/4.0
THE ROLE OF AI IN CONTEMPORARY ART: CAN AI WORK BE CONSIDERED "ORIGINAL" ART?
The development of artificial intelligence (AI) in contemporary visual arts has presented both challenges and opportunities. This study examines the role of AI in art creation and its legal and ethical implications, particularly regarding copyright and originality. Using a qualitative descriptive method through literature review, this research analyzes how AI influences the definition of art and the role of artists in the digital era. The findings indicate that AI can serve as a creative tool that expands artistic exploration but raises debates over the authenticity and copyright of AI-generated works. Furthermore, this study recommends clearer regulations regarding the ownership of AI-based artworks to provide legal certainty for artists and technology users.
Hak Cipta (c) 2025 Edy Semara Putra https://creativecommons.org/licenses/by/4.0
ini, dan, dari CITA KARA: JURNAL PENCIPTAAN DAN STUDI SENI MURNI
Latar belakang penulis dalam mengangkat Tema Bipolar dalam karya Projek Bebas Program Aktiviti MBKM, penulis ingin merealisasikan karya tersebut, dengan warna dan bentuk tersendiri yang tercipta daripada hasil pertemuan idea iaitu pengalaman, karya terdahulu, dan data gangguan bipolar, dalam tajuk "Warna Bipolar sebagai Idea untuk Mencipta Karya Lukisan". Karya tersebut diharap dapat membangkitkan minat pencinta seni untuk mempunyai sensitiviti berkaitan gangguan bipolar. Kaedah penciptaan dijalankan melalui peringkat penerokaan atau pencarian idea, improvisasi atau eksperimen iaitu menjalankan pelbagai percubaan teknik, gubahan, bentuk lakaran, hadangan, gabungan bahan, dan percubaan teknik seperti teknik peleburan cat, penanda dan sapuan palet, percikan, semburan pada plaster, tampal, penggunaan bahan semula jadi, dan sebagainya; dan pembentukan, iaitu merealisasikannya dalam bentuk karya estetik dan sesuai dengan karya estetik serta sesuai dengan pengalaman estetik dan artistik.
Hak Cipta (c) 2025 dewa ayu sakania pradnya aristi, I Wayan Sujana, Ni Made Purnami https://creativecommons.org/licenses/by/4.0
GANGGUAN KECEMASAN SEBAGAI SUMBER INSPIRASI IDE DALAM PENCIPTAAN KARYA SENI LUKIS
Laporan akhir ini studi/projek independen ini mengangkat tema gangguan kecemasan sebagai sumber inspirasi ide penciptaan karya seni lukis. Gangguan kecemasan adalah kategori gangguan psikologis yang terkait dengan perasaan cemas dan takut yang terjadi secara berlebihan. Rasa takut biasanya timbul karena adanya rasa emosional maupun psikologis. Rasa takut juga bisa timbul karena adanya ancaman baik secara aspek fisik dan non fisik. Faktor yang melatarbelakangi gangguan kecemasan adalah faktor trauma, lingkungan, dan genetik. Masalah yang dihadapi adalah bagaimana penerapan konsep, cara memvisualkan makna yang terkandung dalam karya seni lukis, bahan dan media apa saja akan digunakan dalam penciptaan karya. Tujuan yang hendak dicapai pada penciptaan karya ini adalah untuk mengetahui bagaimana gangguan kecemasan melalui kreativitas dan imajinasi ke dalam bentuk karya seni lukis dengan memadukan teknik, gaya, warna, dan referensi tertentu untuk mencapai tujuan yang diinginkan. Dari tema diatas terdapat 5 (lima) karya yang dapat diwujudkan dengan judul: Claustrophobic, I Got PTSD, I Got GAD, Keep It Clean, dan Aku Juga Merasa. Dapat disimpulkan bahwa gangguan kecemasan memberikan inspirasi kepada penulis dalam pembuatan karya seni lukis dan mengembangkan ide serta gagasan yang imajinatif, yang akan menjadi karya yang bernilai dan bermakna. Dengan terciptanya karya ini diharapkan mampu menyampaikan pesan moral, serta sebagai media edukasi tentang gangguan kecemasan.
Hak Cipta (c) 2025 I Gede Bayu Arisuta, I Gede Yosef Tjokropramono, I Made Jodog https://creativecommons.org/licenses/by/4.0
CAFE LIFE VISUALIZATION IN DIGITAL ARTWORK
This independent project report is entitled "Visualization of Cafe Life' in Digital Artwork and aims to reveal the phenomenon of life in a coffee shop through digital artwork. This study explores how the function of a coffee shop has shifted, which now not only provides coffee, but also sells a lifestyle that is popular with many people. This study also illustrates the anxiety that the author faces when carrying out his two daily activities as a barista and a student. The process of creating this digital artwork involves stages of exploration, improvisation, and formation, which are realized using digital media such as iPads and illustration software. The result is a series of digital illustration artworks that identify aspects of life in a coffee shop, and the researcher's personal challenges in carrying out two activities. There are six works produced, all of which are based on digital illustrations and the presentation media themselves vary from drinking cups, coffee grinders, tote bags, and t-shirts. This research contributes to the understanding of cafe life as a socio-cultural phenomenon and technological development, and offers a new perspective in creating digital artwork that is relevant to the development of the times. It is hoped that this work can inspire students, artists, and the younger generation to continue exploring and developing their creative potential through the use of digital technology and direct experience in everyday life.
Hak Cipta (c) 2025 I Komang Sucita, I Wayan Adi Sucipta, Luh Budiaprilliana https://creativecommons.org/licenses/by/4.0
Seni pada dasarnya tercipta melalui pengalaman, baik pengalaman pribadi, orang lain, lingkungan sosial budaya, politik maupun agama. Seni menjadi media bagi perupa untuk mengungkapkan ide, gagasan, dari pengalaman yang dirasakan, yang diwujudkan dalam sebuah karya seni yang indah dan memiliki makna. Seiring dengan perkembangan zaman, seni pun turut berkembang. Artinya, berkembangnya seni menjadi hal yang tidak dapat dihindarkan. Begitu juga pada karya seni instalasi Jagratara, dengan pemanfaatan teknologi karya seni instalasi Jagratara ini hadir sebagai warna baru dalam dunia seni. Karya seni instalasi ini tidak luput dari hasil proses beberapa metode yang dilakukan oleh pencipta, diantaranya metode recycle dan metode ekplorasi. Metode Recycle adalah proses untuk menjadikan suatu bahan bekas menjadi bahan baru dengan tujuan mencegah adanya sampah yang sebenarnya dapat menjadi sesuatu barang yang bernilai seni, sedangkan Metode eksplorasi media adalah suatu metode sebagai media untuk mengekspresikan potensi dan kreativitas penyusun. Pada dasarnya metode ini digunakan sebagai suatu kemampuan untuk menemukan, membuat, merancang ulang, serta memadukan hal atau gagasan baru maupun lama menjadi kombinasi baru dari berbagai medium, teknik, ide dan interpretasi pribadi dalam menggambarkan realitas yang dipilih untuk divisualisasikan. Jagratara berasal dari bahasa sansekerta yang berarti selalu waspada. Kata selalu waspada sering kali kita dengar pada saat tanda-tanda bahaya mulai muncul. Selalu waspada adalah kalimat pengingat yang sering kali diucapkan ketika bahaya akan datang. Karya seni instalasi ini hadir dengan tujuan sebagai bahan pengingat dan perenungan tentang dampak buruk penggunaan plastik terkhususnya bagi ekosistem laut.
Hak Cipta (c) 2025 Arief Makhrozi Y, I Wayan Karja, Anak Agung Gde Trisna Suryadinata T.Y. https://creativecommons.org/licenses/by/4.0
Karakter Api Sebagai Simbol Emosi Dalam Penciptaan Karya Seni Lukis
ABSTRAK Laporan ini berisi uraian tentang penciptaan karya seni lukis yang mengambil tema “Karakter api sebagai simbol emosi dalam penciptaan karya seni lukis.” Tema ini terinspirasi dari penggunaan simbol api untuk merepresentasikan berbagai emosi dalam seni. Secara umum, laporan ini membahas tentang bagaimana simbol api dapat digunakan untuk menggambarkan emosi dan karakter dalam karya seni lukis. Masalah yang dihadapi adalah bagaimana memvisualisasikan emosi dan karakter melalui simbol api untuk mewakili ide, fenomena, makna, dan teknik yang dihadirkan dalam mewujudkan karya seni lukis. Metode penciptaan merupakan proses dalam mewujudkan karya secara sistematis. Dalam mewujudkan penciptaan ini, metode yang dipergunakan meliputi: riset dasar, tahapan eksplorasi, eksperimen, improvisasi, dan pembentukan. Tujuan yang hendak dicapai dalam penciptaan karya ini adalah untuk mengungkap bagaimana api sebagai simbol emosi dapat menjadi media kreativitas dan imajinasi dalam bentuk karya seni lukis, dengan menerapkan prinsip-prinsip seni rupa sehingga tercipta enam karya selama semester VI ini.
Hak Cipta (c) 2025 Ida Bagus Mas Putra Rahditya, I Ketut Mustika, I Gede Jaya Putra https://creativecommons.org/licenses/by/4.0
THE SANGHYANG JARAN DANCE IN NYALIAN VILLAGE, KLUNGKUNG, AS A SOURCE OF INSPIRATION FOR THE CREATION OF VISUAL ART WORKS
The report on the creation of this work of pure art was inspired by the Sanghyang Jaran dance in Nyalian Village, Banjarangkan District, Klungkung Regency. As a source of inspiration for creative ideas, the author has lived side by side with the Balinese customs and traditions around him since childhood, and one of them is the Sanghyang Jaran dance. The Sanghyang Jaran dance is also a religious art because it involves the spirit of Sanghyang Jaran, which will possess the selected dancer and will experience a trance, and Sanghyang Jaran dance performances are held at several temples. is in Nyalian Village. The creation process used stages: basic research, exploration, canvas experiments with acrylic paint totaling 4 (four) works, and 2 (two) works of wood-based sculpture. In the process of creating the work, the author took references from the Wasundari Kamasan studio as a source for creating the work. The author combines the ornaments given. In the creation process, the author took the form of patterns, proportions of rock shapes, standards, and several other techniques.
Hak Cipta (c) 2026 I Putu Eka Darmasuta, I Wayan Setem, I Wayan Adi Sucipta https://creativecommons.org/licenses/by/4.0
CILI as a source of inspiration for ideas for crating work of fine art
This report describes the creation of works of painting with the theme "Cili as a source of inspiration for ideas for creating works of fine art", which was inspired by the unique shape of a cili, a ceremony in agrarian life that is involved in most people. In this case, Cili is a symbol of the transformation of the Goddess Sri into the Goddess of Fertility, Prosperity of the Mother Goddess or Mother Earth, from the land or Mother Earth all human needs emerge, for example plants and others. Cili is a symbol that is closely related to life and fertility. sometimes cili is associated with the goddess Sri, the goddess of rice, who symbolizes fertility. The meaning of chili in Balinese culture is closely related to the ceremonies in agricultural life that most people participate in. In this case, chili becomes a symbol of the reproduction of Dewi Sri as the goddess of fertility, prosperity of the Mother Goddess or Mother Earth, from whom the land or Mother Earth produces all human needs, for example plants and others. In the creation process using steps: basic research, exploration, improvisation. In the process of creating the work, the author took references from the Wasundari Kamasan studio as a source for creating the work. The author combines the given ornaments. In the creation process the author took the shape of water, the shape of rocks, and the shape of a tree
Hak Cipta (c) 2025 Pande Komang Budhi Sastra Utama, I Wayan Setem, I Wayan Kondra https://creativecommons.org/licenses/by/4.0
SUSTAINABLE ART MANAGEMENT IN THE SCOPE OF FOLK ART FESTIVALS
In the ever-evolving evolution of cultural events, the integration of sustainable practices in curatorial and art management is becoming increasingly important. This report explores the application of sustainability strategies in the context of art festivals, examining the intersection between environmental responsibility, cultural preservation, and community engagement. By analyzing case studies of leading art festivals that have successfully adopted sustainability practices, the report identifies key approaches such as resource optimization, waste reduction, and promotion of eco-friendly materials. In addition, the report highlights the role of stakeholders, including artists, organizers, and spectators, in fostering a culture of sustainability. These findings underscore the potential for sustainable arts management that not only reduces the environmental impact of festivals but also increases social and economic impacts. The report aims to provide a comprehensive framework for art festival organizers to integrate sustainability into their planning and implementation processes, ultimately contributing to a more resilient and responsible cultural sector.
Hak Cipta (c) 2026 Joey Rahmat, I Wayan Sujana, I Made Jodog https://creativecommons.org/licenses/by/4.0
CURATORIAL PAINTINGS BY I WAYAN BENDI AND IDA BAGUS INDRA COLLECTION OF THE RUDANA MUSEUM
Magang di Museum Rudana memberikan pengalaman berharga dalam dunia kuratorial, yang memperdalam pemahaman penulis tentang peran kurator dalam melestarikan dan memamerkan koleksi seni. Penulis terlibat dalam proyek-proyek pameran, termasuk penelitian latar belakang karya seni dan penyiapan koleksi. Karya-karya seniman seperti I Wayan Bendi dan Ida Bagus Indra dianalisis untuk memahami makna filosofis, spiritual, dan sosial yang terkandung di dalamnya. Selama magang, penulis mengevaluasi kebutuhan akan penelitian mendalam, koordinasi tim, dan strategi komunikasi untuk audiens yang berbeda. Penulis juga menganalisis perbedaan gaya antara karya I Wayan Bendi yang lebih eksperimental dan kontemporer dengan karya Ida Bagus Indra yang klasik dan detail. Perbedaan ini mencerminkan variasi pengalaman dan pendekatan mereka terhadap seni rupa Bali dalam konteks modern. Magang ini memberikan wawasan tentang tantangan dan peluang dalam pekerjaan kuratorial, menyoroti pentingnya kerjasama tim dan dedikasi terhadap pelestarian warisan budaya. Pengalaman ini memperkaya pengetahuan praktis penulis dan memperluas pemahaman tentang pentingnya aksesibilitas koleksi melalui pendekatan edukasi dan program publik.
Hak Cipta (c) 2025 Serevina Rikel Carroland Ginting, I Wayan Kondra, I Wayan Gulendra https://creativecommons.org/licenses/by/4.0
VISUAL EXPRESSION OF THE LOTUS FLOWER PHILOSOPHY IN PAINTING ARTWORKS
This report explains the creation of a painting with the theme "Visual Expression of Lotus Flower Philosophy in Painting". The abstract of the lotus flower philosophy describes the beauty that emerges from less than ideal conditions, where the lotus grows from mud but remains clean and beautiful on the surface of the water. In its life, the lotus flower is a plant with beautiful flowers, but behind the beauty of its flowers, the plant grows in a muddy and dirty environment to achieve the beauty of the lotus flower. This abstract reviews the application of the lotus flower philosophy in human life, describing how values such as resilience, beauty, and growth can be applied in the context of personal and professional development. The statement about the life of the lotus flower contains important values that can be applied in human life, how values such as resilience, beauty, and growth can be applied in the context of personal and professional development. This philosophy also describes the importance of living in the midst of difficulties, seeking light in the darkness, remaining calm in chaos, and how we process ourselves in finding our identity. By exploring the balance between hardness and softness, and the ability to thrive in difficult environments, this philosophy inspires humans to reach their highest potential in everyday life. This report explains the concept of painting inspired by the philosophy of the lotus flower that can be applied in human life by exploring the aesthetic elements and symbolism in the lotus flower. This painting tries to capture the beauty and meaning of the philosophy of the lotus flower with a creative context. by combining various techniques in one painting that can symbolize the meaning and philosophy of the lotus flower.
Hak Cipta (c) 2025 I Made Prayoga, Luh Budiaprilliana, I Dewa Putu Gede Budiarta https://creativecommons.org/licenses/by/4.0
PENERAPAN SENI LUKIS DEKORATIF PADA KERAMIK TABLEWARE
Laporan magang/praktik kerja ini mengeksplorasi tema alam dan sekitarnya sebagai inspirasi dalam menciptakan karya seni. Dalam proyek ini, penulis terinspirasi oleh lingkungan alam, termasuk laut, daun, dan batu. Dari ide-ide tersebut, tekstur, bentuk, dan warna dikembangkan dalam karya seni. Karya yang dibuat adalah peralatan makan. Peralatan makan mengacu pada piring dan peralatan yang digunakan oleh orang-orang untuk makan dan minum. Selain fungsi utamanya untuk makan, menyajikan makanan, dan menghias meja, peralatan makan juga dapat berfungsi sebagai seni dekoratif yang dapat dipajang. Tujuan dari proyek ini adalah membuat peralatan makan yang fungsional menjadi lebih menarik dengan menerapkan seni lukis, sehingga tidak hanya berfungsi tetapi juga dekoratif. Karya seni ini menampilkan berbagai teknik dalam hal bentuk, tekstur, pewarnaan, dekorasi, dan lainnya. Proses penciptaan dimulai dengan observasi, mempelajari, dan mengelola ide-ide, diikuti oleh perenungan, dan akhirnya proses kreatif diwujudkan melalui lukisan pada keramik. Laporan ini bertujuan untuk memahami kegunaan alat dan bahan, serta tahapan dalam proses penciptaan. Kesimpulannya, penulis telah memperoleh pembelajaran dan pengetahuan yang berharga selama magang/praktik kerja. Penulis berharap bahwa karya ini dapat menjadi inspirasi bagi para pembaca.
Hak Cipta (c) 2025 Ivana Gabriella Halim, I Ketut Mustika, I Made Bendi Yudha https://creativecommons.org/licenses/by/4.0
DESIGNING TATTO ARTWORK WITH THE CONCEPT OF BALI CULTURE USING THE DARK ART STREAM AT KINK TATTO BALI
This study explores Balinese culture through Dark Art to depict the grandeur and complexity of the community's spirituality. Dark Art, with its dark tones and profound symbolism, reflects the mystical power and sacredness of nature represented by mythological figures like Dewi Durga. In Balinese culture, Dewi Durga symbolizes the formidable forces of nature, revered through various rituals and arts. Her portrayal in a horror-themed style emphasizes not only the terrifying aspects but also the majesty and sacred mystery of nature. Dark Art elements such as horror nuances and Rangda masks enhance the symbolism of the niskala (spiritual) world, a vital aspect of Balinese life. The Rangda mask, often associated with negative forces, represents diseases or spiritual disturbances that are addressed through traditional rituals. The use of these elements illustrates how Balinese people maintain balance between physical and spiritual aspects. The study's artistic outcomes combine Dark Art aesthetics with Balinese traditions, creating a profound visual interpretation of the community's views on nature and spirituality. This approach highlights the significance of the niskala realm in Balinese culture, particularly in preserving harmony in life. The research contributes to understanding how Balinese art and culture utilize Dark Art symbolism to express their beliefs and spiritual practices.
Hak Cipta (c) 2025 I Made Agus Wira Dharma, I Dewa Putu Gede Budiarta, I Gede Jaya Putra https://creativecommons.org/licenses/by/4.0
DEATH AND REINCARNATION AS INSPIRATION OF CREATION FINE ARTWORK
This report contains a description of the creation of works of art that take the theme "Death and Reincarnation as Ideas in the Creation of Works of Art" which was inspired when reading a book that made the author interested in raising the theme of death in this semester IV independent project, namely the book "History of Death" from Michael Kerrigan. It reminded the author of the confusion of finding a concept and finally it was recommended to use a concept that was close, so the author raised death because there is nothing closer to death. The goal to be achieved in the creation of this work is to find out how death and reincarnation are packaged in religious sciences, cultures that exist in Indonesia, especially Bali through creativity and imagination into the form of paintings using various techniques, media, considering the elements and principles of fine art. From the written work and paintings produced, the author hopes that this work will be useful as literacy and a source of inspiration for society in the future. From the above theme, there are 5 (five) works that can be realized from death and reincarnation that can provide an overview of culture and religious science about death and reincarnation, especially in Bali.
Hak Cipta (c) 2025 I Nengah Kariana, I Nengah Wirakesuma, I Made Ruta https://creativecommons.org/licenses/by/4.0
TOPENG BALI SEBAGAI SUMBER INSPIRASI IDE DALAM PENCIPTAAN KARYA SENI LUKIS
Mask art is one of the cultural arts products of the Indonesian people that we still encounter a lot. In various regions, masks have different roles and functions because each region has different customs and beliefs. Apart from being associated with dance, Balinese masks are also often used in theatrical performances or a combination of dance and theater, because Balinese masks themselves have many different characters. Balinese masks themselves have many meanings of life in them which the author then packages into a work of painting which contains messages and knowledge that can broaden insight for a wide audience. The creation method used is a method of creation by creating works of painting in a systematic way. The stages of creating a work of painting which outlines the design of the process of creating a work of art according to the stages of creation from getting the inspiration (idea), designing, to realizing the work of art is a creation method developed by Hawkins. The author chose Balinese masks as an idea for creating this painting because Balinese masks themselves have many different characters, Balinese masks themselves have many meanings of life in them. Which is then packaged by the author into a work of fine art containing messages and knowledge that can broaden insight for a wide audience. This makes the author create paintings using masks as objects combined with the shape of the human body to support the creation of inspirational ideas.
Hak Cipta (c) 2025 I Gusti Made Dwi Suantara Putra, I Wayan Gulendra, Ni Made Purnami Utami https://creativecommons.org/licenses/by/4.0
FLOWER METAPHOR INSPIRATION IN FINE ARTS
This report is written to explain the creation of a work of art with the theme "Flower Metaphor Inspiration in Fine Arts". This topic is inspired by the author's experience when he listened to stories from his friends and books that talk about the meaning of flowers. Metaphor is a figure of speech that uses words or groups of words with figurative meanings, not their real meanings, to describe something by comparing it to something else. The flower metaphor is argued here as a small part that is almost the same as a colorful life journey. This work identifies how the flower metaphor is a meaning that produces the expression of a woman's feelings through creativity and imagination in artwork. There is one work that will be produced in the form of a painting. Each work will use various techniques and media, based on the essence and principles of fine art. More specifically, this report covers how artists use artwork to express the flower metaphor that represents a woman's feelings. Thus it can be seen that every visual artwork of the flower metaphor can appear in a smile, disappointed, disappointed, broken, love. Therefore, the other side of this artwork can help to do an in-depth and interpretive analysis on this painting, and strictly speaking, this will allow to gain an understanding of the complexity of the flower metaphor that is the inspiration in this work.
Hak Cipta (c) 2025 Anak Agung Ramanda Putra, I Wayan Mudana, I Made Bendi Yudha https://creativecommons.org/licenses/by/4.0
BALI PUPPET IN CONTEMPORARY PAINTING ART
The independent campus learning program is a policy of the Minister of Education and Culture, which aims to encourage students to master various knowledge that is useful for entering the world of work. This independent project study report highlights the concept of Balinese Shadow Puppetry in Contemporary Painting. Departing from the rare Shadow Puppetry which has become one of the inspirational ideas for creating art. The selection related to Shadow Puppet visuals in the creation of this work of painting presents the story of wayang as expressed through 6 (six) works of Painting. The problem faced is the concept, method and embodiment of Balinese Shadow Puppetry in Contemporary Painting. The aims and benefits are to provide a reflection on the creation of Balinese Shadow Puppets in Contemporary Painting. To answer the problems above, the creation method is a solution by applying exploration, improvisation, forming. Soedarsono (2001: 207), in realizing his work, the author used his own techniques or (experiments) combined with Shadow Puppet visuals and combined them with the characteristic ornaments of Sanggar Wasundari. Wet technique and application of color from Shadow Puppet and Kamasan Puppet. It is hoped that it can produce quality work and become the identity of the creator. In the end, it can be concluded that Balinese Shadow Puppets can inspire writers in creating valuable and meaningful works. With the creation of this work, it is hoped that it will be able to convey the message in this work of painting.
Hak Cipta (c) 2025 I Wayan Swantara Yoga, I Wayan Mudana, I Wayan Kondra https://creativecommons.org/licenses/by/4.0
Karakteristik Potret dalam Seni Tato Realis
Penelitian ini bertujuan untuk menganalisis karakteristik potret dalam seni tato realis, salah satu gaya tato paling populer saat ini. Fokus utama dari penelitian ini adalah mengidentifikasi elemen-elemen kunci yang membuat tato potret terlihat hidup dan realistis, serta teknik-teknik yang digunakan oleh seniman tato untuk mencapai hasil tersebut. Penelitian ini merupakan bagian dari laporan magang MBKM dan menggunakan metode penelitian kualitatif deskriptif. Data dikumpulkan melalui wawancara dengan seniman tato yang berpengalaman dalam gaya realis, observasi langsung selama proses pembuatan tato, dan dokumentasi fotografi dari karya-karya mereka. Analisis konten digunakan untuk mengidentifikasi ciri-ciri umum yang mendefinisikan tato potret realis, seperti ketepatan dalam menangkap proporsi wajah, penempatan cahaya dan bayangan, serta penggunaan gradasi bayangan halus untuk menciptakan efek kedalaman, beserta perhatian pada detail kecil yang meningkatkan kesan realistis. Temuan utama dari penelitian ini menunjukkan bahwa ketepatan dalam menggambarkan ekspresi wajah dan tekstur kulit sangat mempengaruhi kualitas tato potret realis. Selain itu, pemahaman mendalam tentang anatomi wajah, keterampilan dalam aplikasi tinta, dan penguasaan gradasi warna merupakan faktor penting. Implikasi dari penelitian ini menunjukkan bahwa penguasaan teknik-teknik tersebut tidak hanya meningkatkan kualitas tato, tetapi juga mendorong perkembangan gaya realisme dalam industri seni tato.
Hak Cipta (c) 2025 I Kadek Dena Ari Prayoga, I Gede Yosef Tjokropramono, I Gede Jaya Putra https://creativecommons.org/licenses/by/4.0
Tuna Fish As A Source Of Inspiration For Ideas In The Creation Of Paintings
The final report of this independent study/project raises the theme "Tuna Fish as a Source of Inspiration in the Creation of Paintings". The phenomenon of fish bombing, especially referring to tuna which still often occurs even though it has been urged and given a deterrent effect by giving fines or imprisonment, but there are still many who use explosives or bombs to hunt fish, the cause of fishing perpetrators is mostly aimed at getting a lot of profit in a short time and with the energy expended is so limited. The problem faced is how to apply the concept and how to visualize the meaning contained in the painting, the purpose to be achieved in the creation of this work is to appeal to the wider community, especially those in coastal areas and to ISI Denpasar students not to use explosives or bombs in catching tuna and other fish. Through the idea of creativity and imagination channeled into the form of paintings by combining certain techniques, styles, symbols, colors, and references to achieve the desired goals and meanings. It can be concluded that tuna fish inspire writers in creating paintings and develop imaginative ideas and ideas that will become valuable and meaningful works. With the creation of this work, it is hoped that it will be able to convey messages and meanings, as well as an educational medium from the impact of tuna bombing.
Hak Cipta (c) 2025 I Putu Bisma Maha Gangga, I Wayan Adnyana, Ni Made Purnami Utami https://creativecommons.org/licenses/by/4.0